MEGAKLOTE.

zondag 17.35-18.35 klm in nederland

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Op 7 juli 2004 20:04 schreef Buried_Alive het volgende:
Te hopen dat met de terugkeer van Nick, ook de rest (Dave en Marty) zijn voorbeeld volgen. Ach zal wel een idee blijven.

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wel een heel goed idee

Ik luister nu de promo van Megadeth's nieuwe album (The system has failed) Klinkt best aardig!

voor degene die willen weten hoe het met dave is en wat er met megadeth gebeurt zal ik zijn laatste post hier posten erg lang maar zekers de moeite waarde alle info over wat er met junior marty of nick gebebeurd is en hoe het er nu voor staat volgende post zal het zijn

Droogies!

Here is what I have been saying in the interviews, what happened chronologically that caused the demise of the band, why Nick was fired, Marty quitting, records turning out the way they did, and finally me walking away.

When Countdown To Extinction came out, the band and I were ecstatic to have a number 2 record. But if you could believe this, also during that time there were a lot of the “movie type intervention group therapy meetings” with me in the middle of a session of what rapidly was referred to as a “Dave Bashing” session.

There were all of these complaints and trying to get me to stop using drugs, as well as comments about my leadership skills. I remember them all taking a test and grading me as well as numerous other shameful and painful exercises meant to crack me or break me down.

Well, this really hurt all of us, mostly me. The members at these sessions were Nick Marty, Junior, Ron Laffitte (manager) Raymond May (counselor), David White (counselor – and not Gadget, the guitar tech).

Ultimately, it made me start to be very cautious of everything and we instituted a no drinking, no drug clause, that everyone would agree to, myself included. There would be random testing and so on, and this was because of Ron’s friendship with Aerosmith’s manager and how this “process had worked for them.”

I allowed more input from not only management, and the band, but also the counselors and even Max Norman, who had gotten more permission in the next record which was called “Youthanasia.”

By the time Youth was done, I had so much inner turmoil that I wanted to leave Megadeth, but instead I asked to do a solo project. I had been writing songs for the next Megadeth record after Youth and because CTE had come in at #2 and Youth at #4, Capitol agreed to keep me happy.

I set out to do a punk metal record with Lee Ving called MD.45, and they gave me $250,000 to do the project.

As cool as this is for them to have admitted it, Capitol did not market MD.45 at all because it would have possibly interfered with their other priority, the successful band Megadeth. However, the great people of EMI have allowed me to go back in and re-issue this record which I am totally pumped about

After I faced that I had not succeeded with MD.45 I was ready to do the next Megadeth record called “Cryptic Writings.” However, before this record, Ron Laffitte called me to tell me that he was going to be taking a job at Elektra Records, and we parted ways very badly. This is where the phrase you have heard “difficult” came in. Ron and I have since made amends but the damage of his comments about me and the inside damage to my heart from the “Dave Bashing Sessions” had changed the dynamics of Megadeth forever. And to this day, no one has ever apologized for it.

I had gotten a new manager after Ron left named Mike Renault that I really liked, and he had a partner named Bud Prager that came out to meet me and took over, without my consent, or Mike’s knowledge, and started to try to convert Megadeth to a different band, a band he had managed before called Foreigner.

The first days we talked about the writing of Cryptic, how I write, that he wants me to run everything past him, that he was going to assess critically the other band members music, and he would write with me as a ghost writer. Although you have seen on “Risk” there was no more ghost writer.

This hurt me, hurt my relationship with the band, and Bud’s relationship with Mike, and most importantly my relationship with you.

Cryptic came out and while it was really good, it was not really thrash or speed metal anymore. You see when CTE came out, there was another record called “Nevermind” out at the same time too. And now there was a fork in the road. Does Megadeth follow the alternative road, does it follow the road it’s on, which will lead to going underground, or does it do nothing?

I think you can tell by the haircuts, fancy shoes, and clothes that the road opposite the underground was chosen, although we never really chose to follow alternative. Yet.

I was very pleased with the results of Cryptic, regardless of the music genre, and relished in the moment. But that was short lived. The others were fighting with Bud and with me; Bud had convinced me to give the all 10% each of my publishing, which is a sacred way of earning money, one of only two ways you make money off of selling a record, unless you are fortunate enough to get royalties from ASCAP or BMI, of which I belong to BMI. He suggested to buy them out, and he would get them to leave me alone. This is something that he told me was done in Foreigner, a band he managed.

But he never said that he was going to want publishing, that he was going to bring in out side writers, that he was going to give away more of my points to the production team.

Now, CTE was 2X Platinum, Youth was 1X Platinum, but Cryptic failed to reached Platinum. It did make Gold status in the USA.

Meanwhile, I had a falling out with Nick about an injury in his leg and the hidden drug problems he was having that was affecting his playing. I let him go, but I loved him enough to stay in close contact with him over the next five years. He told me that Junior has called him all of twice in five years.

In comes DeGrasso, and I knew him from MD.45, but this was different. Many of my friends told me that he would not be the right guy, and that I was making a big mistake. How could I be making a mistake with a person that played that well?

I didn’t understand or believe them and went on with it. We started to write “Risk.”

By now the letters had been going out by Bud to the other band members like “your songs are a dime a dozen, maybe a nickel,” “this is awful, like Ali Baba’s 100 Arabian nights.” And this anger for Bud ended coming back at me. I didn’t want to have to deal with anyone anymore, and Bud was totally power drunk. His relationship with Mike Renault was on the rocks, and it wasn’t long until Mike left Bud’s firm. On this record Bud suggested making the song “Crush em” and that we use an outside songwriter that he manages named Brain Howe, the singer of Bad Company. He also tried getting me to write with the Country Music Songwriter of the year, some chick that I would have to move out to Nashville to work with for a few days or weeks.

Droogies, I did take a huge risk and that was why it was called “Risk,” because even though I felt this was going to be career suicide, Cryptic had done great at radio. I just hadn’t learned yet that radio doesn’t always translate into record sales, sales which you need to stay in business. It isn’t just about the record sales that keep you in business either. If it appears that you are not selling records, you will more often than not be put into a smaller venue, and so on. The noose gets tighter.

When Risk was done, I believed it was a great record, it just was not a Megadeth record. Marty has confessed that he and the management, and the A & R department of Capitol were the ones trying to make Megadeth alternative, and after all of the ‘internal terrorism’ that I mentioned in Vortex, I just started to give in to this fatal democratic leadership. I surrendered.

Once Risk came out and we watched the fans freak out that it was not Megadeth, I said “we need to make a metal record, yep we are going to make a metal record!” this is why I believe Marty quit.

Sure, he will tell you the songs were simple, or my lyrics were dark, or a hundred other reasons, but I think Marty was happy with the fact that Megadeth was trying to turn alternative; that was until Dann Huff stuck the knife in his back by not telling me that he had not told Marty that he had erased his solo and put a solo by me there instead.

Marty was visibly hurt, I was hurting for him, and I knew we were just on life support.

In comes Al Pitrelli after Marty has his nervous breakdown.

Meanwhile, Roy Lott, the president of Capitol Records made up a fake gold record award to give to me and I couldn’t even look at the cameras when they ask us to pose with them. This is because it said to “commemorate 500,000 sales worldwide” not in America. I purposed hung this record crooked in my office to remind me of who was working on this record.

Risk only sold 350,000 copies approximately.

So I started “The World Needs A Hero” with Al, who was a leader for Trans Siberian Orchestra, and also Savatage. It took a lot for Al to submit to not being a leader and being second fiddle, but Junior did not allow him to be second; that was his spot, and Jimmy wouldn’t allow him to be third; that was his spot.

So by taking the gig, Al went from the front of the line to the back of the line. I have no hard feelings for Al, he married a nice lady, and I wish him the best.

Back to the record: When TWNAH was finished, we took it to Capitol and told them that we wanted off of the label, and they said, “give us two sings, let us put out a greatest hits record, and don’t release this new TWNAH record that we are going to give back to you for nine months so that it won’t interfere with our greatest hits record that we are going to put out.” It made sense to me, and we agreed.

Somehow the A & R guy from Capitol Steve Schner (possibly), and certainly someone from Capitol had sent out what seemed like hundreds of promotional copies of TWNAH. We found them all over eBay, and every person selling them had the same story, which lead to the suspicion; “We found it in a used record bin in a box on the street in NYC.”

Sure ya did.

And this continued for nine months of illegal downloading on Napster and the like, so that when the record finally came out, it only sold a little over 200,000. This is great for some bands, but it was not great for me.

I was watching everything I had built for 20 years die in front of my own eyes.

I started drinking in the back of the bus with Al at night, and eventually one day is was in San Diego and was supposed to play an acoustic radio show for KIOZ and found out for all of our trouble and for all of their gratitude, they were playing the song only 2 times that whole week prior to the special show we were doing for them.

That night I got loaded.

I eventually finished the tour, but I couldn’t stand to be around any of the guys. Junior would walk up to me on stage and I would walk away, Jimmy would miss parts and timed choreographed segues because he was off of his drums yelling at the monitor man.
This is the point at the end of the tour I went in to rehab, and where I fell asleep on my arm.

While I was in rehab, I had told the band’s manager at the time, Larry Mazer, that I needed a vacation and that I was having a breakdown, and that he should pull the plug for a while. He didn’t listen.

While I was in the treatment center, Junior, Larry, and the others went to the label and said we were starting the new record and that we need a third of the budget, which was $333,000. And when Sanctuary, the label, asked where Dave was, Larry said, “on a horse retreat.”

Now, all of my friends at the label knew I was afraid of horses, and that something was up. So when I got home I told Larry that I was done and that I was firing him and that I was breaking up Megadeth.

I told Junior that I wanted to meet him and explain why and show him my hand, which he saw, contrary to his, “I only know what he told me” statement in Metal Sludge. I told him that I was going to hand everything over to him so that people would recognize him and at first he thanked me profusely, then later that day he started screaming at me in front of my son, in a public parking place. Even though he hurt my son, and me in the eyes of my son, I did not kick his ass.

So, I took back the offer to have him run the Estate. Junior said, “If you’re going on with your career, then I am going on with mine.”

I called Jimmy to tell him and his girlfriend said, “You are not living up to your potential to be a decent human being.” I guess she would not what that looks like from experience. And then she called me “a liar.”

I wrote the press release and left all of this stuff out because I thought after a year or two that Jimmy would change his attitude, maybe say some good things about his time in Megadeth, maybe call up, and apologize for his girlfriend’s rudeness, but that never happened. And I also tried to keep in touch with Junior, but he always seemed to want to know what I was doing, which I would have told him if he wouldn’t have been so rude. He was forgetful that for the last 20 years I took care of him and employed him, even after three last three producers and even his lead guitarist wanted to fire him for not being good in the studio.

Six months after I last saw Ellefson, I started to play and 13 months later I did a benefit for someone that worked for me and had died. It was very awkward and I left as quickly as I could because I did not want to have to be interrogated by him.

18 months later I told Ellefson that I was considering doing a new record and that if he wanted to play with me on it, knowing full well that by asking Marty and Nick, that it would be a RIP line-up record, and NOT A REUNION. I stated numerous times to all three of them, “It is just a record, not a reunion.”

I told him that the offer was exactly what his share is that is in the original contract that he signed with Sanctuary, which is 20% of all Megadeth’s earnings on the record, and remember, someone had gone to the label and taken $333,000 of the recording fund. I certainly got my share of it sent to me, but it is still sitting over at the bands business manager’s office.

You are now completely up to speed on a simple thumbnail sketch of what happened from CTE thru TWNAH and why the songwriting ruined the chemistry of the band, why the records sales went down, and Marty quit, why my arm got hurt, and I will answer in very intense detail all of the questions on the poll when they are chosen.

But for know, that’s it. I know I did the right thing when I sold all of my personal gear to pay off all of the bills that was owed for Megadeth, bills that none of them volunteered to pay.

I wished they would have done the right thing by now, but they didn't. And Junior is suing me and Megadeth.

Don't worry though, because after you hear this new record and you see me and Nick together, none of this will matter.

I love you all.
__________________
MSGD!

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Op 9 juli 2004 20:56 schreef demonic_debby het volgende:
Droogies!

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Hehe...goed om te horen dat de beste man goede smaak in film/literatuur heeft.


Anyway. Ik vond Megadeth altijd een NET NIET band. Ook in mijn jeugdjaren zeg maar. Het was allemaal technisch prima in orde, alles was op zijn plek...maar het raakte me niet.

Idd. Ik had ooit 2 Megadeth cd's. Zielloze muziek bij nader inzien.

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Op 9 juli 2004 20:59 schreef Chelman het volgende:
Hehe...goed om te horen dat de beste man goede smaak in film/literatuur heeft.
...

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Ik heb geen 'goede smaak' maar waar slaat 'droogies' dan op?

Dave laat trouwens meer van zich horen:

METALLICA's LARS ULRICH Responds To DAVE MUSTAINE Attack - July 9, 2004

METALLICA drummer Lars Ulrich has responded to a verbal attack by former bandmate Dave Mustaine over the inclusion of a scene in METALLICA's "Some Kind of Monster" documentary in which Ulrich sits down with Mustaine for a one-on-one therapy session.

Earlier this week, BLABBERMOUTH.NET exclusively reported that the new issue of Record Collector magazine would feature comments from Mustaine, who called the inclusion of the scene a "final betrayal," as he had asked the band to cut it from the finished film.

Lars Ulrich told Launch that he has no idea why Mustaine is complaining: "The only thing I can say is, I myself felt that when I saw some of the scenes, individually and out of context, they were awkward. But playing in the context of the movie, I think it flows very well. And I hope that he gets a chance to see the film, or sneak in and see it, or somebody sends him a copy, maybe he'll feel different about it."

Ulrich also told Launch that the scene was a faithful depiction of what happened during the session: "It's a pretty accurate representation of what went on in the room that night. Look, I don't know — we sent him a copy of the scene, and he asked us if we would not put that in the movie. And we sat down and really respected his inquiry, and we decided it was too integral a part of the movie to leave out. And we kept asking, 'Why?,' and 'Is there anything...?'. Look, I can't tell you. I haven't spoken to him since that day."

Ulrich said Mustaine's on-camera outburst was shocking: "I was stunned by the fact that when he looked back on his 15 years of being in a very successful hard rock band called MEGADETH, that the main thing that he saw in that rear-view mirror was METALLICA. It just stunned me."

Ulrich said that — despite what Mustaine might be saying — he has positive feelings for his former bandmate: "Look, I've always had a soft spot for him. I've always thought he was very gifted, and kind of a sweetheart. And we've had some good moments over the years. But I was glad that we had an opportunity to throw some of that stuff onto the table. Especially for him, because he just needed to get some of that stuff out there."

Lars said the air isn't clear yet: "Well, James [Hetfield] wasn't there. So that was a big part of it. I think I've always been a little bit more forgiving than James, and I think I was more forgiving of Dave than James was, especially early on. So I think that James and Dave have some stuff that they kinda have to wind through."

Ze moeten em wel hebben:

SLAYER's KERRY KING: DAVE MUSTAINE Is A Dictator - July 9, 2004

In a brand-new interview with Guitar World magazine, SLAYER's Kerry King spoke about the time he spent in MEGADETH as the band's touring/live guitarist. Asked how he thinks MEGADETH would have turned out if he had stayed in the group, Kerry replied, "I played their first five shows, and if I had stayed I probably wouldn't have lasted more than a year, because [MEGADETH frontman] Dave Mustaine is such a dictator and had much poppier ideas than me. It never would have worked. Jeff [Hanneman, SLAYER guitarist] and I used to go see METALLICA and be blown away by how awesome Mustaine was, so I was honored when the call came asking me to help him. But after five shows, I was like, 'I'm in SLAYER and that ain't going to change." That didn't go over too well."

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Op 9 juli 2004 21:01 schreef filosofem het volgende:
Idd. Ik had ooit 2 Megadeth cd's. Zielloze muziek bij nader inzien.

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Ik vind Megadeth eigenlijk de allergaafste band die er is (na Slayer dan)
Vooral de basspartijen van Dave Ellefson vind ik geweldig

Geniaal riffwerk Vooral op Rust in Piece

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Op 9 juli 2004 21:52 schreef Mutilator het volgende:
Ik heb geen 'goede smaak' maar waar slaat 'droogies' dan op?

Dave laat trouwens meer van zich horen:

METALLICA's LARS ULRICH Responds To DAVE MUSTAINE Attack - July 9, 2004

METALLICA drummer Lars Ulrich has responded to a verbal attack by former bandmate Dave Mustaine over the inclusion of a scene in METALLICA's "Some Kind of Monster" documentary in which Ulrich sits down with Mustaine for a one-on-one therapy session.

Earlier this week, BLABBERMOUTH.NET exclusively reported that the new issue of Record Collector magazine would feature comments from Mustaine, who called the inclusion of the scene a "final betrayal," as he had asked the band to cut it from the finished film.

Lars Ulrich told Launch that he has no idea why Mustaine is complaining: "The only thing I can say is, I myself felt that when I saw some of the scenes, individually and out of context, they were awkward. But playing in the context of the movie, I think it flows very well. And I hope that he gets a chance to see the film, or sneak in and see it, or somebody sends him a copy, maybe he'll feel different about it."

Ulrich also told Launch that the scene was a faithful depiction of what happened during the session: "It's a pretty accurate representation of what went on in the room that night. Look, I don't know — we sent him a copy of the scene, and he asked us if we would not put that in the movie. And we sat down and really respected his inquiry, and we decided it was too integral a part of the movie to leave out. And we kept asking, 'Why?,' and 'Is there anything...?'. Look, I can't tell you. I haven't spoken to him since that day."

Ulrich said Mustaine's on-camera outburst was shocking: "I was stunned by the fact that when he looked back on his 15 years of being in a very successful hard rock band called MEGADETH, that the main thing that he saw in that rear-view mirror was METALLICA. It just stunned me."

Ulrich said that — despite what Mustaine might be saying — he has positive feelings for his former bandmate: "Look, I've always had a soft spot for him. I've always thought he was very gifted, and kind of a sweetheart. And we've had some good moments over the years. But I was glad that we had an opportunity to throw some of that stuff onto the table. Especially for him, because he just needed to get some of that stuff out there."

Lars said the air isn't clear yet: "Well, James [Hetfield] wasn't there. So that was a big part of it. I think I've always been a little bit more forgiving than James, and I think I was more forgiving of Dave than James was, especially early on. So I think that James and Dave have some stuff that they kinda have to wind through."

Ze moeten em wel hebben:

SLAYER's KERRY KING: DAVE MUSTAINE Is A Dictator - July 9, 2004

In a brand-new interview with Guitar World magazine, SLAYER's Kerry King spoke about the time he spent in MEGADETH as the band's touring/live guitarist. Asked how he thinks MEGADETH would have turned out if he had stayed in the group, Kerry replied, "I played their first five shows, and if I had stayed I probably wouldn't have lasted more than a year, because [MEGADETH frontman] Dave Mustaine is such a dictator and had much poppier ideas than me. It never would have worked. Jeff [Hanneman, SLAYER guitarist] and I used to go see METALLICA and be blown away by how awesome Mustaine was, so I was honored when the call came asking me to help him. But after five shows, I was like, 'I'm in SLAYER and that ain't going to change." That didn't go over too well."

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jezus wat een soap serie allemaal ,blabbermouth staat er vol mee eerst de metallica vs megadeth soap en nu slayer ook ook nog es bij

wat een vette artwork gaat deze plaat krijgen!
http://www.mikelearn.com/megadeth/mega/

Ziet er inderdad wel heftig uit...

Ik heb Megadeth toch altijd wel een toffe band gevonden. R.I.P blijft voor mij een klassieker en de rest is ook altijd heerlijk, alleen Risk en T.W.N.A.H waren in mijn optiek Megadeth onwaardige platen...

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Op 9 juli 2004 21:52 schreef Mutilator het volgende:
Ik heb geen 'goede smaak' maar waar slaat 'droogies' dan op?

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Droogs is een van de woordjes die i.p.v. 'Friends' in Clockwork Orange gebruikt wordt.

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Op 10 juli 2004 9:53 schreef Orion het volgende:
wat een vette artwork gaat deze plaat krijgen!
http://www.mikelearn.com/megadeth/mega/

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Ik vind het alleen qua referentie met Rust in peace met die regeringsleiders goed; de stijl vind ik te glad; dan moet nl. de definitie -contouren- supersterk zijn maar dat is het helaas niet; check die figuren achteraan in de rij zoals Blair en Arafat maar; ook de achtergrond komt erg isometrisch over ipv 3d.

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Op 10 juli 2004 11:28 schreef Chelman het volgende:
Droogs is een van de woordjes die i.p.v. 'Friends' in Clockwork Orange gebruikt wordt.

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Ach natuurlijk moet dringend die film weer eens gaan bekijken; wat voor termen gebruikte de schrijver nog meer? The old in-and-out met devotchka's...?

Nieuwe plaat klinkt OK, beste in 12 jaar....

blijft een mega boring live band!

toch het forum op gegaan mutilator?

en waar slaat droogies op? hmmm das al eeuwen oud al van de oude fanclub dus ja gewoon fan neem ik aan ik zal het een keer vragen

ps. mike learn doet het echt fantastische en de enige reden waarom ed repka het niet mag doen is omdat hij gewoon te veel vraagt en daar had Dave geen zin in heb trouwens ook het hand verhaal als jullie geintresseerd zijn?

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Op 10 juli 2004 12:58 schreef enforcer het volgende:
Nieuwe plaat klinkt OK, beste in 12 jaar....

blijft een mega boring live band!

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als je dat vind waarom zit je op deze thread? of post je zinloze info. Wat kan mij het schelen dat je het boring vind?

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Op 10 juli 2004 19:32 schreef demonic_debby het volgende:
als je dat vind waarom zit je op deze thread? of post je zinloze info. Wat kan mij het schelen dat je het boring vind?

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Is deze thread van jou of zoiets?

nee deze thread is niet van mij maar ik ben wel een echte megadeth fan dus als ik iemand mijn band hoor neersabelen gaan mijn haren overeind staan sorry als je er niet blij mee bent. en ik heb heb gevonden wat droogie is mutilator

Droogie is a derivitive of Droog and means friend, taken from the movie "A Clockwork Orange." If you are a member of the Megadeth Forums or a fan of Megadeth in general, Dave considers you a Droogie.

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Droogies!

So, here is why Ellefson is not in Megadeth any longer.

After I found out that I had to make a Megadeth record instead of a Mustaine record, I contacted the “RIP” lineup to make the record.

I was going to still use Vinnie Colaiuta and Jimmy Lee Sloas to make the record, and then bring it out to Phoenix to save me the hassle of rehearsals with everyone, pre-production, the plodding pace of studio time with these guys, since I don’t really know Nick’s current ability anymore, and have watched the last three records producers say, “Get a session bassist in for Ellefson.”

I told Nick what I was going to do simply, and he didn’t need a lot of details. He just wanted to play with me again. I offered Nick cash, a set percentage of the record, and told him the salary that I was going to offer him if we ever did shows again. He accepted, no questions asked.

I told Marty what I was going to do and he wanted to know what the recording budget was, what the recording fund was, what the marketing plan was, touring plan was, and so on, because he had worked so hard to get his career going in Japan with his J-pop that he didn’t wanted to do this half-assed. Somehow, he missed that I said it was just a record and that it was not a reunion. I offered Marty cash, a set percentage of the record, and told him the salary that I was going to offer him if we ever did shows again. Communications stalled and I started talking to Ellefson. I still am trying to talk to him just on principle and that he is rad and will always be part of the Megadeth legacy.

I told Ellefson what I was going to do and he wanted to know what the budget was, what the fund was, and what the splits were; that’s it. I told him that they were the same splits that were in force in the contract with Sanctuary, which was that he got 20%. He then started arguing about the splits that applied to when Jimmy and Al were there. I told him that, “I don’t know what to tell you, but Pam just got back from LA and I am going to have to get back to you.” Management called and tried to talk to him.

He wanted 35%, and they told him that, “Dave Mustaine’s offer is 20%, just like it says in the contract.” They went on to say, “Look, we really want you back in the band, but you have to be ok with things, because if you are not, then we don’t want you here. Just take some time to think about it and get back to us.” He then told him the deadline that we had set.

Ellefson blew off the first deadline and after having to fly out to LA to meet with the business manager, personal manager, and attorney, we wrote him a letter saying something to the fact that the deadline has passed and that we accept his ‘not replying’ to be his indication that he was not interested. We also told him that we were going on without him.

30 minutes later he was on the phone saying, “Can’t we work this out? I still want to be in.”

I said of course we can, but I don’t appreciate him fucking around with my patience. Tell him that the deal is the same and that he has until a specified date to give us his answer. The second deadline.

Meanwhile, when the management had talked to him they told him that he was really lucky that I had given him my publishing money over all of these years and that I did not have to do this. Ellefson allegedly said, “I agree.” They went on to tell him the terms that he was asking for were out of the question. He asked that I allow him to continue his current commitments with Peavey and F5 to which I said, “It would be unfair of me to expect him to forget all of the hard work that he has done in the break.”

He also wanted the same salary as me and I agreed because I wasn‘t taking one, although I offered him $2,500 a week while we were on the road. And I only wanted Megadeth to have priority with his work and there not to be a conflict of interest. He supposedly agreed to this.

And he strangely said that he knew that he wasn’t entitled to any of my publishing, but that would I give him an advance of the money that I was going to get for myself, since he is not recouped, or not repaid with the publishing company, nor the record company. I agreed to give him an additional $50,000 of my own money as an act of good faith and brotherly love.

He then disappeared until the day before the deadline and when I called and asked my attorneys for an update, which is when they dropped the bomb on me. They said, “Ellefson says he wants you to accommodate his schedule,” which is fine but the language was pretty aggressive. He then told me that, “Ellefson doesn’t accept your salary as a producer and . . .” and I cut him off. I said, “forget it, tell him . . .” and he cut in and said, “I didn’t even tell you that he wanted some of your publishing again.”

I was so done I couldn’t stand it.

The deal was non-negotiable. The record was completely written, and there was none of his songs on there, and wouldn’t be. This was the second deadline that was passed when he did not accept my offer.

He then said that I made him “an unacceptable and offensive offer.” Which was the first time either one of us had spoken badly in the press about each other. He drew first blood.

I told the management and legal team of Megadeth to send a letter to Sanctuary requesting that he be taken off of the contract, to which they did without any question.

I also asked that he be made an offer based on what he would be entitled to of all of the money left over after the recording. Which would equal, based on his percentage around $50,000, plus the $50,000 publishing advance from my personal money, totaling $100,000, but that he needed to be done and have a signed and fully executed settlement in my hands by a specified time and date.

Now remember, he has gone to Metal Sludge and said, “I only know what he told me,” about me arm when he saw it, and said, “I never said no to Dave’s offer, and that I am ready to go,” or something like that, which he has clearly said no to.

I had every right to be mean to him, but I was not. Add to the fact that Megadeth owed Sanctuary about $2,000,000 and that his 20% of that was $400,000 would mean that I was going to eat his debt, and pay him to go away a total of $500,000.

Well, the deadline came and 15 minutes later he faxed the contract into my attorney’s office, and he knew it needed to be in “my” hands, not the attorneys. The third deadline passed.

Although I didn’t have to, I accepted this third offense and said, “Now let’s take over the world,” to my crew.

You can imagine all of our astonishment when we got a call from Ellefson’s attorney the next Monday, stating that Ellefson had fired his attorney, and he was backing out of the negotiations. I was staggered by this stupidity.

Here we have a signed and fully executed document, the guy has been lying about not saying “no” to my offer, lying about my arm, and implying that I am greedy and cheap, on top of trying to make us all, including you Droogies look stupid.

David got a new attorney and he sent a letter saying that “he was engaged by David Ellefson” to basically go after Dave Mustaine and Megadeth, thereby requiring me to hire a litigator. In other words, I am being sued.

Now you know why I don’t want this guy in Megadeth anymore. Are we clear here?
__________________
MSGD!

het dave mustaine en david ellefson verhaal

Wat een kut soap, alleen maar modder gegooi over en weer!

Eigenlijk snap ik die hele Dave Mustaine ook voor geen reet, hij wil dus met mensen in een band spelen waar hij niet mee praat en vice versa maar waar al het contact via advocaten loopt..
Nou dat zal gezellig worden in de tourbus, en het zal het creatieve proces van muziek maken en schrijven ook wel ten goede komen!! (en dat valt op een podium natuurlijk ook niet op) Volgens mij heeft hij ook echt niet die R.I.P line-up nodig, hij schrijft toch het merendeel... Dus zoek een paar goeie muzikanten en hoppa, klaar.

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Op 10 juli 2004 19:59 schreef demonic_debby het volgende:
nee deze thread is niet van mij maar ik ben wel een echte megadeth fan dus als ik iemand mijn band hoor neersabelen gaan mijn haren overeind staan sorry als je er niet blij mee bent. en ik heb heb gevonden wat droogie is mutilator

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Jouw band?

Nogmaals: Megadeth is vrij matig.

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Droogie is a derivitive of Droog and means friend, taken from the movie "A Clockwork Orange." If you are a member of the Megadeth Forums or a fan of Megadeth in general, Dave considers you a Droogie.

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Als je niet van die enorme lappen tekst in zou plakken zou je zien dat dit al gepost was....

[Dit bericht is gewijzigd door Chelman op 11-07-2004 22:05]